Zitate von Julie Taymor

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Julie Taymor

Geburtstag: 15. Dezember 1952

Julie Taymor ist eine US-amerikanische Regisseurin.

Zitate Julie Taymor

„In our culture, we think that happy and color is trivial, that black and darkness is deeper.“

—  Julie Taymor

Academy of Achievement interview (2006)
Kontext: In our culture, we think that happy and color is trivial, that black and darkness is deeper. But Nietzsche said — which is a line that I firmly believe — "Joy is deeper than sorrow, for all joy seeks eternity." And if you see Grendel, you'll see, as he's on the edge of the abyss, ready to leap to his death, he sings, "Is it joy I feel? Is it joy I feel?" And it's so, so moving. You can have a lot of different explanations for the ending of that opera, but there is something so palpable that you will feel when he sings those lines.

„We have a ways to go in understanding the power of puppetry“

—  Julie Taymor

As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991) http://www.nytimes.com/1991/07/02/nyregion/new-york-at-work-puppeteer-creates-shows-for-grown-ups.html
Kontext: We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform.

„I read a lot of books that are, for lack of a better word, cross-cultural.“

—  Julie Taymor

Academy of Achievement interview (2006)
Kontext: I read a lot of books that are, for lack of a better word, cross-cultural. I find movies and books that take me — transport me to another culture are the things that I'm most interested in, and always have been.

„Joy is deeper than sorrow, for all joy seeks eternity.“

—  Julie Taymor

Academy of Achievement interview (2006)
Kontext: In our culture, we think that happy and color is trivial, that black and darkness is deeper. But Nietzsche said — which is a line that I firmly believe — "Joy is deeper than sorrow, for all joy seeks eternity." And if you see Grendel, you'll see, as he's on the edge of the abyss, ready to leap to his death, he sings, "Is it joy I feel? Is it joy I feel?" And it's so, so moving. You can have a lot of different explanations for the ending of that opera, but there is something so palpable that you will feel when he sings those lines.

„I really, really love to have people honestly be moved and inspired.“

—  Julie Taymor

Academy of Achievement interview (2006)
Kontext: I'm not one of these people that go, "Oh well, I'm just going to do my art and I don't give a shit what anybody thinks." I don't feel that way. I really, really love to have people honestly be moved and inspired. And whether it's just here or just here — it's always better if it's the both. That's why Shakespeare is so great, because he gets you from the gut to the heart to the head, and that's what I aspire to do, more than anything.

„Why do we think that arts are leisure? Why isn't it arts and science or arts and the most important thing in your life?“

—  Julie Taymor

Bill Moyers interview (2002)
Kontext: I used to say that arts were talked about in the arts and leisure page. Now, why would it be arts and leisure? Why do we think that arts are leisure? Why isn't it arts and science or arts and the most important thing in your life? I think that art has become a big scarlet letter in our culture.
It's a big "A." And it says, you are an elitist, you're effete, or whatever those things... do you know what I mean? It means you don't connect. And I don't believe that. I think we've patronized our audiences long enough.
You can do things that would bring people to another place and still get someone on a very daily mundane moving level but you don't have to separate art from the masses.

„I've never been a puppeteer, I conceive and I write and I design and I direct.“

—  Julie Taymor

As quoted in "Theatre Director Probes Humanism" by Christopher Reardon in The Christian Science Monitor (13 November 1992), p. 10
Kontext: I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that.

„We are able to be incredibly creative or to be incredibly destructive. We have that decision to make, to create something. It could be grotesque and ugly, but it is monstrously beautiful, so it inspires people.“

—  Julie Taymor

Academy of Achievement interview (2006)
Kontext: We can either be monsters or angels. We are able to be demons and angels, as that book says. We are able to be incredibly creative or to be incredibly destructive. We have that decision to make, to create something. It could be grotesque and ugly, but it is monstrously beautiful, so it inspires people.

„The concrete world isn't necessarily the most powerful world.“

—  Julie Taymor

Academy of Achievement interview (2006)
Kontext: The concrete world isn't necessarily the most powerful world. The world of the mind — whether you're watching Matrix or whatever — the world that's inside here has the power to do a lot of good and a lot of damage.

„I knew it would be a challenge, but I saw the inherent theatricality in it, and I couldn’t resist.“

—  Julie Taymor

As quoted in "KA-POW! Spider-Man: Turn Off the Dark" http://www.vogue.com/magazine/article/ka-pow-spider-man-turn-off-the-dark/ by Adam Green at Vogue.com
Kontext: Spider-Man is a genuine American myth with a dark, primal power … but it’s also got this great superhero, and — hey! — he can fly through the theater at 40 miles an hour. It’s got villains, it’s got skyscrapers, it’s colorful, it’s Manhattan. I knew it would be a challenge, but I saw the inherent theatricality in it, and I couldn’t resist.

„I don't think that anything that's really creative can be done without danger and risk.“

—  Julie Taymor

60 Minutes interview (2010)
Kontext: I love it when people say "What a horrible, lousy idea." I think that's great … I hate the comfort zone … I don't think that anything that's really creative can be done without danger and risk.

„Puppets really are the origin of theater. Even the shadow on the wall of Plato's cave was a puppet. The very first actor was some kind of hand creating some kind of animal.“

—  Julie Taymor

Academy of Achievement interview (2006)
Kontext: You know, we still hear the word "puppet" and we get this nauseating image of some kind of Muppet or something. Puppets really are the origin of theater. Even the shadow on the wall of Plato's cave was a puppet. The very first actor was some kind of hand creating some kind of animal.

„Theater is far superior to film in poetry, in abstract poetry. … A lot of what I do in theater is cinematic, and a lot of what I do in film is theatrical, but there are different rules to it.“

—  Julie Taymor

Academy of Achievement interview (2006)
Kontext: !-- One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it. … What theater does best is to be abstract and not to do literal reality. …  -->Theater is far superior to film in poetry, in abstract poetry. … A lot of what I do in theater is cinematic, and a lot of what I do in film is theatrical, but there are different rules to it. … each art form makes me more interested in the other art form because I try and bring in those techniques and those ideas and put them into a different way of using them.

„I'm a director and I paint many other people… Other people's realities. But I do have to invest in it.“

—  Julie Taymor

On Frida Kahlo's work and her own
Bill Moyers interview (2002)
Kontext: She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality.
I find that I make as an artist the kind of choices that I have to be impassioned about. I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself. That's a difference.
Frida painted her own reality, her life. I'm a director and I paint many other people... Other people's realities. But I do have to invest in it.

„She painted what she painted because she had to, because she was passionate about it.“

—  Julie Taymor

On Frida Kahlo's work and her own
Bill Moyers interview (2002)
Kontext: She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality.
I find that I make as an artist the kind of choices that I have to be impassioned about. I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself. That's a difference.
Frida painted her own reality, her life. I'm a director and I paint many other people... Other people's realities. But I do have to invest in it.

„The first thing I do when I’m creating, either for stage or for cinema, is to find the ideograph of the story.“

—  Julie Taymor

Quoted in "Oh, girl : A Talk with Julie Taymor" at Subtitles to Cinema (2 September 2008) http://subtitlestocinema.wordpress.com/2008/09/02/oh-girl-a-talk-with-julie-taymor/
Kontext: The first thing I do when I’m creating, either for stage or for cinema, is to find the ideograph of the story. Which is; the one, simple expression that can tell everything. And at the same time be recognizable for the audience. It’s like in old Japanese paintings — if you were to paint a bamboo forest, you should be able to find its essence with only three strokes.

„I find that I make as an artist the kind of choices that I have to be impassioned about.“

—  Julie Taymor

On Frida Kahlo's work and her own
Bill Moyers interview (2002)
Kontext: She painted what she painted because she had to, because she was passionate about it. She didn't care at all if people bought her paintings. As she said, she painted her reality.
I find that I make as an artist the kind of choices that I have to be impassioned about. I'm not going to spend two years on a film or four years on an opera if I don't feel like I can put my own self into it. That doesn't mean it has to be about myself. That's a difference.
Frida painted her own reality, her life. I'm a director and I paint many other people... Other people's realities. But I do have to invest in it.

„The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense.“

—  Julie Taymor

As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991) http://www.nytimes.com/1991/07/02/nyregion/new-york-at-work-puppeteer-creates-shows-for-grown-ups.html
Kontext: We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform.

„I can't design a mask and say to someone else, "Just do it."“

—  Julie Taymor

It's partly because I'm a better sculptor than I am a drawer. Considering the amount of time it would take me to draw exactly what I want, I might as well sculpt it. I paint most of it too. It's incredibly time consuming so I end up turning down a lot of jobs I want to do.
As quoted in "The Lively Arts" in Connoisseur No. 219 (1989), p. 72

„The appeal of puppetry to me is it's much more freeing for an artist“

—  Julie Taymor

As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991) http://www.nytimes.com/1991/07/02/nyregion/new-york-at-work-puppeteer-creates-shows-for-grown-ups.html
Kontext: We have a ways to go in understanding the power of puppetry … Our problem is for too long we have thought of puppets being for children. … The appeal of puppetry to me is it's much more freeing for an artist … Puppetry is a completely controllable means to attack your characters in every possible way. The artist has the possibility to create a much larger landscape with puppetry. The human becomes more human in that sense. Another of the great things about puppetry is the ability to transform.

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